Photoplay Writing (1922)
by William Lord Wright
Chapter II
What scenario editors want from you
You must write your story in synopsis form. That is, you must write your story — just what happens — and nothing more. That's all the editor wants from you. He does not want long and detailed descriptions, because he hasn't time to read them. His desk is piled so high with manuscripts that he can hardly see over it — manuscripts that his assistants have passed along to him, weeding them out of the thousands that pour into the office. You will readily see that neither they nor he can read through hundreds of pages to find out whether your story is any good or not. They want to get just the kernel of the thing, at first.
You may have heard that the story had to be submitted in continuity form— that is, scene by scene, with every bit of the action given in detail. At one time this was so, but for some years continuity has been written only by those on the inside, who were trained to write it — and the outsider can't do it. It is virtually impossible for the plot builder unacquainted with the inner rules and regulations of a motion picture studio to prepare a motion picture story in continuity. The continuity remains for the staff studio writer to prepare from the synopsis which you present.
The synopsis should be so written as to catch the eye of the scenario editor readily, for this is a great sales factor. It should be as brief as possible commensurate with the development of the plot; prepared in a workmanlike manner and, if possible, the first paragraph should be so written as to hold the attention of the editor so he will read further. In other words, the preparation of the synopsis of a motion picture story is just the old trick of writing a newspaper story all over again. If you will read the average column story in any well edited newspaper you will perceive that the first paragraph frequently contains a short and snappy resume of the entire article, devoid of all details. It is well to write a motion picture synopsis in like manner.
This work requires thought. A well prepared synopsis is not dashed off hurriedly, but is written and then rewritten. If possible, give the editor an idea of what it is all about in your first paragraph, making it brief and snappy. Then, in your second paragraph, state your plot and continue right through to the finish, taking pains to avoid attempts at "fine" writing, and at all times trying to hit straight from the shoulder.
The motion picture story synopsis does not necessarily contain a mass of little details. However, if you have ideas for novel business that could be carried in the continuity it is well to embody this idea briefly in your synopsis.
The synopsis should tell the editor the plot of the story; it should tell the editor the characterization of the people who carry out the plot; it should give him an idea of the environment or locale of the story; it should carry the big climaxes as the plot develops; and it should always carry a happy ending, if possible getting away from the usual "chaste salute."
A synopsis for a two-reel picture story can be compiled in from two to three hundred words. It is principally the idea that the editor wants for the short length production. For a feature play a synopsis can be presented in from five hundred to two thousand words, fifteen hundred words being a happy medium.
Always remember that the scenario editor is a trained man, very frequently a graduate of the newspaper school which teaches observation and the knack of knowing a good idea when encountered. So do not have any misgivings, as so many beginners do, that the editor will not understand your idea unless you go into lengthy details and write voluminously. After all, it is merely the main or striking idea, the unusual twist of the story, in which he is interested. Often the editor will buy just the main idea submitted, throwing away all else contained in the story and, with his staff, will build around this idea an entirely new continuity in detail.
So you will readily appreciate that the more clearly and the more briefly you present your idea in synopsis form, the better opportunity it will have for careful consideration.
There is presented herewith a sample synopsis as prepared for production at the studio of the Universal Film Manufacturing Company, which will give you an idea of the way in which a motion picture story synopsis should be prepared. This story has been produced and is fully protected by copyright.
"THE DREAM GIRL"
By George Morgan
Rose Merton is returning home from an extended stay at an eastern college, planning to surprise her father. Her train is stalled. Rose wanders too far away and the train pulls out without her. Darkness overtakes her and a violent storm comes up. She takes refuge in a shack that is untenanted. Exhausted and frightened, she soon succumbs to the sleep that her tired mind and body crave.
Buck Thompson returns to the shack after a trip to a nearby hotel where he has been seeking to forget the loneliness of riding fence. Buck is a recent addition to the Merton ranch, one of the largest in the state and owned by Rose's father in conjunction with Hank Williams. Buck has been indulging in some "Angel's Dream Cider" and is feeling decidedly happy. He is bringing a jug of it home with him. He discovers Rose asleep and thinks it might be the effects of the "Angel's Dream Cider." It is such a pleasant dream that he is loath to awake, and falls asleep himself.
In the morning Rose awakens and finds Buck asleep. A mischievous idea comes to her and she straightens the bed as she has found it and steals away leaving Buck asleep in the chair. Buck awakens and to his disappointment and disgust finds her gone and no evidence of her having been there. He is convinced it is a dream.
His work finished, he returns to the ranch and is amazed to meet Rose. Rose has kept her little adventure a secret and enjoys Buck's bewilderment. Williams sees the meeting and eyes the two thoughtfully. He has passed the shack during the storm and looking in the window had seen Buck and Rose. Their greeting now has him guessing but he holds his tongue.
The friendship between Buck and Rose, his "Dream Girl," grows into something deeper. Williams watches with jealous eyes. Buck riding the range, spies the rustlers' camp and makes a dash for it. He is too far away to recognize any of them, therefore he doesn't know that Williams has been planning a raid of the Merton ranch. By the time Buck reaches the camp the rustlers have gone. Williams is hiding in the brush nearby. Buck picks up the rustlers' trail and goes in pursuit, dropping his glove. Williams finds the glove and plans to use it to remove Buck from his path.
Buck is accused of being in league with the rustlers, Williams making the accusation and using his glove as a proof — Buck is dismissed from the outfit despite Rose's efforts to make her father believe in his innocence. Rose becomes suspicious of Williams and tells Buck. Together they watch. They see Williams meet the rustlers and start on their nefarious work. Rose sends Buck to the outfit's camp for help, while she follows the rustlers. Buck is set upon and captured by two of the rustler's spies. He is brought before Williams. Williams sees a way to put Buck out of the running entirely. He has Buck bound, then starts with him for the ranch house, leaving his confederates to get the Merton stock. The rustlers discover Rose and a chase starts to capture her. Rose tries a desperate plan to lead the rustlers to the outfit's camp and succeeds. The punchers chase after them while Rose rides to the ranch house to telephone the sheriff.
Williams brings Buck to Merton as a rustler, captured by him after a fight. Merton is about to telephone the sheriff when Rose arrives and claims Buck is innocent. Williams accuses her of shielding Buck because she loves him. Things look bad for Buck when the outfit arrives with captured rustlers. Williams tries to discredit Rose by accusing her of spending the night in the shack with Buck. Explanations are made that clear Rose and one of the rustlers exposes Williams as their leader.
All ends happily with Buck finding his "Dream Girl" is his real girl.
This synopsis should be accompanied by a cast of characters — a list naming each one, and telling very briefly who the person is. This should be written on a separate sheet of paper, and should be so placed that it is seen before the synopsis is read.